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I don't know if there's any missing cue or not. I've not listened to the set to compare it to the shows at all. I listen to it for the music myself and have quite enjoyed it.

That being said, how many tracks are on the set? I count 636.

Six hundred and thirty six tracks.

Let's stop and think about that for a moment.

All this hullabaloo over one track that may or may not be included or missing. Some of you are throwing a fit over one track out of 636.

That's fucking ridiculous given the treasure trove of music that this set provided us which had previously been completely unavailable to us.

At the very least there is a seemingly obsessive desire to fixate on this issue. At the end of the day, does it really matter? After all the work and effort the LaLaLand guys put into this and the hours of superb music we now have at our disposal and for our listening pleasure, is it not enough?

Let's take a step back from the evermore annoying fan entitlement and be grateful for what we have. Let's enjoy the music and let's get a little perspective, shall we?

I don't think anyone is "complaining" about the LLL set. I'm certainly not. But there is a fan desire to document all the facts, and that I understand. The LLL set can be both magnificent and in need of having small bits of trivia documented.

And I never meant to imply that little hybrid cues created on the fly by the show's music editor should or even could have been included in the set.

Yep, I am not putting the LLL set down by any means...but just noticed that there is at least one missing cue of music. And was curious why it was left off of the set, whether intentional or by mistake.

I have researched this cue meticulously and definitely concluded with zero doubt it is not on the set. I even went back to my VHS copies of the Laser-discs I made back in the early 1990's because some thought it was different...but that was not the case.

I love this set and I am very thankful that it was made. I never, ever thought that I would ever see the original series music released in a set like this. It's a dream come true for sure. But I noticed a cue was missing, wanted some second opinions and finally deduced that it was incomplete.

I can't see how any of my posts would ever be considered negative. I just like being thorough and when I came across this missing cue from Miri I wanted to see if anybody had an answer or knew regarding it.

I wanted to post an update on the missing cue that first popped up in 'Miri'. The full missing cue actually appears in 'Court Martial' while Kirk is talking to Areel Shaw in the lounge and is approximately 1:15 in length.

It is basically the main Trek theme in a very laid-back, romantic key. There are a few cues very similar to this specific track from Conscience of the King (Kirk & Lenore/Corridor/Lenore's Kiss/Everything Is Later) as well as the Library cues (Lonely to Dramatic/Romantic Scene/Love Scene), but this is not any of them.

Is it possible that the missing cue was a fusion of the cues you mentioned? LLL had access to the original cue sheets, so a 1:15 track would be difficult to overlook. I recall on a podcast with Jeff, Neil, etc last year that the only missing cue that they were aware of was a brief one in "Journey to Babel"

__________________GARTH: Mister Spock, do you consider Captain Kirk and yourself brothers?
SPOCK: Captain Kirk speaks somewhat figuratively and with undue emotion. However, what he says is logical and I do, in fact, agree with it.

I thought that could be the case, but definitely determined it is an entirely different cue on it's own completely.

I didn't realize they confirmed there was another track missing already. Do you remember if they said why it was left off? Actual missing sources or damaged reels?

For my complete edits I just ended up extracting the audio from the DVD and using Audacity to remove the vocals. It doesn't sound too good, but it is good enough for me. Does anybody know of any really good software that can remove background hiss/vocals and fx better than Audacity? Or any tips when doing it? I just invert the audio and make the channels mono when I do it.

DarthBrett, the mention of the "Journey" cue is during this podcast at the link below from 41:45-42:56. If you have not already, I encourage you to listen to the entire program as it contains fascinating insight into the production of the set.
http://www.filmmusicmag.com/?p=10295

__________________GARTH: Mister Spock, do you consider Captain Kirk and yourself brothers?
SPOCK: Captain Kirk speaks somewhat figuratively and with undue emotion. However, what he says is logical and I do, in fact, agree with it.

DarthBrett, the mention of the "Journey" cue is during this podcast at the link below from 41:45-42:56. If you have not already, I encourage you to listen to the entire program as it contains fascinating insight into the production of the set.
http://www.filmmusicmag.com/?p=10295

The set is also missing the commercial "bumper" theme music, which Neil said that they could find no recording of whatsoever. Those few seconds of music are the one of the tracks I was looking forward to the most, but it certainly didn't dampen my enthusiasm for purchasing the set, or reduce my pleasure of listening to it and creating my own tracked score compilations.

Fifteen months later and Iím still listening to this set. I havenít grown tired of it and always find some time to pop in a favorite score, or revisit some I donít frequent as much. Itís also amazing how much having the complete presentations made the previously released scores more enjoyable. Where No Man Has Gone Before (in sound and content) is much fuller and one of my top picks. The Doomsday Machine also gets play quite often, which like itís forefather The Enemy Within, doesnít have a single false note. Sol Kaplan was underused.

Of the newly released, I gravitate to The Man Trap a lot more often than I thought I would. Itís not droning electronic crap that Roddenberry hated at the time; itís just very depressing and stark, but still brilliant. It does a wonderful job in filling in the character blanks of the creature. Also Fridayís Child and Spockís Brain keep drawing me in.

There are a few episode scores Iím not as enamored with, but overall, this is still my go-to for mood music and easily some of the best television scoring of the era. It certainly is my own personal favorite. Iíll always be grateful for everyoneís herculean efforts to get this together and out. Such great quality and a real labor of love. If I have any complaint at all it is the decision to cross fade some cues to recreate an original edit (which happens in the two pilot scores). I would have preferred to hear the cues end rather than get stepped on by the next cue, but thatís a very minor point. My love for this set is unparalleled in my library. It is easily the jewel in the collection and my actual Holy Grail.